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"29 April 2013, marks the Australian launch of a unique project that will see a giant work of art by Australian Aboriginal artist Lena Nyadbi installed on the roof of the musée du quai Branly in Paris. To be officially revealed on June 6, the 700 square-metre installation is viewable from the Eiffel Tower and accessible by Google Earth users, making it one of the largest artworks made by an Australian artist and an important new addition to the world renowned museum dedicated to the arts and cultures of Africa, Asia, Oceania and the Americas."

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"Stelarc is an Australian artist who has performed extensively in Japan, Europe and the USA – including new music, dance festivals and experimental theatre. He has used medical instruments, prosthetics, robotics, Virtual Reality systems and the Internet to explore alternate, intimate and involuntary interfaces with the body."

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"Most of Piccinini's works are premised on bioscientific practices of manipulation and alteration of living beings, of creating 'new worlds' if 'only' in art. Stem cell research, genetic engineering, cloning, bioelectronics, and technologically mediated ecological restoration and kin formation loom large. Reorienting the arrow of time, both Still Life and Young Family provoke the onto–ethical question of care for the intra– and inter–acting generations that is not asked often enough in technoculture, especially not about its own progenitors and offspring. The important question is not found in the false opposition of nature and technology. Rather what matters is who and what lives and dies, where, when, and how? What is wild, and what quiet? What is the heritage for which technocultural beings are both accountable and indebted? What must the practices of love look like in this tangled wild/quiet country?"

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I participated in the Transmute Collective's 'Intimate Transactions' work last week. The project allows two people to interact with each other remotely through a mediated interactive experience. For my session I 'transacted' with Keith Armstrong who was at ACMI (Australian Centre for the Moving Image) in Melbourne. As the two of us moved our feet on the project's 'Bodyshelf' our virtual avatar was able to move around the screen (projected simultaneously in Brisbane and Melbourne). In this way our avatars were able to 'collect' virtual 'assets' that we were able to share with each other through 'intimate transaction'.
(Simon Perkins)